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Kill the Minotaur – the “cage” of myth | Review

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Published on Nov 24, 2018

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It may seem strange, or perhaps to some even blasphemous, but what they did Chirs Pasetto and Christian Cantamessa thanks to Skybound (and, in Italy, saldaPress) was to create a true new version of the myth of the Minotaur (because of the invariants, as well as the schema mythical, are complied with) trying as much as possible of detaching him from a historic and cultural dimension, to place it in the a horizon strictly modern, with a good dose of horror sci-fi.

As already said, then, the suggestive scenario is broadly consistent with the tradition of Greek mythological: in Crete, the king Minos contemplates the Minotaur (closed in the famous labyrinth, created by Daedalus, in replacement of his murdered son, the first time, to the olympic games to the athenians. Close from the yoke and from the vein tyrannical of Minos, the city of Athens is forced to give a gift to the Minotaur as a sacrifice, his best inhabitants; the situation to which the old king Aegean fold, reluctantly, but he goes down to the young prince Theseus. Arrogant, impulsive, and anti-conventional, the young will leave for Crete (inserted between the usual hostages taken in a sacrifice to free Athens from the control of Minos, finding the princess of the place, Arianna, an unexpected ally. Theseus, however, albeit in search of fame and glory, he did not think in the slightest that face the Minotaur was the task entrusted to him by destiny... the “cage” of the myth is something from which, like the labyrinth, it is difficult to find hard to get out.

Although the figure of Theseus is inextricably linked to the killing of the Minotaur and the symbiosis with it, at least as far as the collective imagination (as evidenced in the words repeated by the Minotaur, and as the final is well understood), the authors take the liberty to characterize the hero of the story in an original way, alienating (and not a little) compared to the scenario “classic” and the ancient city of Athens (and myth itself), perfectly integrated with the design “bright”, full of light, in the mythical time: the young prince of Athens, is brash, impulsive and irreverent and expresses all his impetuosity of youth in a language, a potty mouth, definitely in contrast with her figure, with its time and with the myth itself. As well as this effect may be annoying to most, or perhaps contrary to feel closer to an ancient story, the tone and the manner in which the “world” inside the maze (and the Minotaur) is represented, is questionable: the puzzling place turns into a sort of planet, alien, almost sentient, and the Minotaur has nothing of the traditional, figure, half human, half bull, but rather appears to be an alien worthy of the best protagonist of a horror sci-fi. In this context, Ariadne's thread is symbolically represented in a “sci-fi”, safeguarding one of the invariants of the myth and, at the same time, creating again the effect of alienating much appreciable as annoying.

Although, therefore, the structure of the myth to be respected, the tone with which it is narrated the adventure of Theseus to Crete watch in an obvious manner to the horror fiction of our day (and it is not a coincidence that Universal Pictures has already bought the rights for the transposition of the comics on the big screen); choice, perhaps, was too bold and a little out of balance (unlike, for example, of a total work as Green Valley) but that it can represent, especially for the fans of the Aliens & Co., a striking reinterpretation of the Greek myth to appreciate and read with pleasure.

 

Kill the Minotaur – the “cage” of myth | Review of MangaForever.net

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